In Haunted Bodies, Anne Goodwyn Jones and Susan V. Donaldson have brought together some of our most highly regarded southern historians and literary critics to consider race, gender, and texts through three centuries and from a wealth of vantage points. Works as diversive as eighteenth-century court petitions and lyrics of 1970s rock music demonstrate how definitions of southern masculinity and femininity have been subject to bewildering shifts and disabling contradictions for centuries.

There is a dark history in southwest Ohio that some people would much rather forget. A riot tore through downtown Cincinnati in 1884, a fire burned relentlessly at the Salvation Army orphanage on Front Street, and one of the largest mass murders in history occurred in a small, unassuming home in Hamilton. Many of these tragedies have begun to fade away, forgotten in dusty books hidden on library shelves. The spirits of those involved in these tragedies, though, are not so easily forgotten. Many of the most popular historic sites and some of the lesser-known and forgotten corners of southwest Ohio are haunted by the spirits of those who lived and died there. Haunted Cincinnati and Southwest Ohio examines the ghostly history of more than 30 such locations. It tells ghost stories and reports historic events from area theaters, cemeteries, museums, parks, roads, railroad tracks, and even a castle through narrative and photographs. Perhaps the ghosts are history's way of remembering the past--even those dark corners of the past that few would like to relive.

Healing Haunted Histories tackles the oldest and deepest injustices on the North American continent. Violations which inhabit every intersection of settler and Indigenous worlds, past and present. Wounds inextricably woven into the fabric of our personal and political lives. And it argues we can heal those wounds through the inward and outward journey of decolonization. The authors write as, and for, settlers on this journey, exploring the places, peoples, and spirits that have formed (and deformed) us. They look at issues of Indigenous justice and settler “response-ability” through the lens of Elaine’s Mennonite family narrative, tracing Landlines, Bloodlines, and Songlines like a braided river. From Ukrainian steppes to Canadian prairies to California chaparral, they examine her forebearers’ immigrant travails and trauma, settler unknowing and complicity, and traditions of resilience and conscience. And they invite readers to do the same. Part memoir, part social, historical, and theological analysis, and part practical workbook, this process invites settler Christians (and other people of faith) into a discipleship of decolonization. How are our histories, landscapes, and communities haunted by continuing Indigenous dispossession? How do we transform our colonizing self-perceptions, lifeways, and structures? And how might we practice restorative solidarity with Indigenous communities today?

Uncovers the ways in which the spectator's memory informs theatrical reception

At the heart of America’s slave system was the legal definition of people as property. While property ownership is a cornerstone of the American dream, the status of enslaved people supplies a contrasting American nightmare. Sarah Gilbreath Ford considers how writers in works from nineteenth-century slave narratives to twenty-first-century poetry employ gothic tools, such as ghosts and haunted houses, to portray the horrors of this nightmare. Haunted Property: Slavery and the Gothic thus reimagines the southern gothic, which has too often been simply equated with the macabre or grotesque and then dismissed as regional. Although literary critics have argued that the American gothic is driven by the nation’s history of racial injustice, what is missing in this critical conversation is the key role of property. Ford argues that out of all of slavery’s perils, the definition of people as property is the central impetus for haunting because it allows the perpetration of all other terrors. Property becomes the engine for the white accumulation of wealth and power fueled by the destruction of black personhood. Specters often linger, however, to claim title, and Ford argues that haunting can be a bid for property ownership. Through examining works by Harriet Jacobs, Hannah Crafts, Mark Twain, Herman Melville, Sherley Anne Williams, William Faulkner, Eudora Welty, Toni Morrison, Octavia Butler, and Natasha Trethewey, Ford reveals how writers can use the gothic to combat legal possession with spectral possession.

Let's Teabag Tegan Too Tight Tegan Titless Tegan Nobody taunted me last week. Too quiet. Too good to be true. Wednesday is Prom night. Wyatt, Dane and Cole want to take me to Prom. I don't think that's all they want to take. Next to the cemetery there's an abandoned haunted house, and Dane has the keys. I don't carry a knife for nothing. Omega Haunted Harem is a tale of mystery, horror, satire, and alpha omega erotic romance. It also contains MF, MMF and FF graphic sex scenes. Recommended for ages 18+

If you believe in ghosts, you're in good company. Haunted Histories brings America's most ghostly locales to life, illuminating their role in shaping U.S. history and detailing how they became the nation's most feared places. Haunted Histories takes readers on a state-by-state journey across the United States, exploring the nation's most feared places. Along the way, the text introduces readers to new ghostly tales and takes a fresh look at familiar stories and locations, with an eye to history. From well-known spooky spots like Salem, Massachusetts, to such lesser-known ones as the Shanghai Tunnels of Portland, Oregon, where spirits are supposedly trapped, readers will discover not only where America's most haunted places are but also why they are said to be haunted. The ghosts of the doomed Donner Party allow readers to experience the arduous and often deadly journey of America's westward wagon trains, while different kinds of "spirits" haunting old distilleries allow readers to discover how whiskey almost derailed the new American nation before it was born. This book can be studied for academic purposes as a historical reference, used as a source for classroom assignments, or simply read for the pleasure of a great story.

Ghostly Fun in the Sand and Sun The wide sandy beaches, colorful boardwalks and majestic lighthouses of the Jersey Shore share supernatural secrets and unexplainable encounters... In Absecon the dead pose as guides for a unique afterhours tour of its historic lighthouse. A reformed criminal met the apparition of his victim, learning remorse is eternal, on Long Beach Island. Newly built casinos in Atlantic City have former patrons stopping by for one last goodbye, from beyond the grave. A spectral organist haunts and plays the pipe organ of Asbury Park's Convention Hall. Author Patricia Heyer uncovers the eerie mysteries that shroud many of the Shore's iconic landmarks.

Chicago Haunted Handbook is the newest book in the Haunted Handbook line within the popular America's Haunted Road Trip series. The Haunted Handbooks are city-specific travel guides to nearly one hundred places within a major city. Chicago Haunted Handbook is written with the ghost enthusiast in mind. All 100 chapters contain information on the history as well as the haunting surrounding each location, as well as detailed directions on how to locate each site. Many of the chapters also contain insider information that only a local would know, making it easier for ghost hunters to investigate. Ghost hunters Jeff Morris and Vincent Sheilds explore all the best haunted locales Chicago has to offer, including Resurrection Cemetery, Bachelor's Grove Cemetery, Murder Castle, St. Valentine's Day Massacre Site, and even Wrigley Field. Each two page entry includes directions from downtown, an historical overview of the haunted place, the story of ghostly doings in that place, and advice on visiting the place yourself--if you dare.

Jay Watson argues that southern literary studies has been overidealized and dominated by intellectual history for too long. In Reading for the Body, he calls for the field to be rematerialized and grounded in an awareness of the human body as the site where ideas, including ideas about the U.S. South itself, ultimately happen. Employing theoretical approaches to the body developed by thinkers such as Karl Marx, Colette Guillaumin, Elaine Scarry, and Friedrich Kittler, Watson also draws on histories of bodily representation to mine a century of southern fiction for its insights into problems that have preoccupied the region and nation alike: slavery, Jim Crow, and white supremacy; the marginalization of women; the impact of modernization; the issue of cultural authority and leadership; and the legacy of the Vietnam War. He focuses on the specific bodily attributes of hand, voice, and blood and the deeply embodied experiences of pain, illness, pregnancy, and war to offer new readings of a distinguished group of literary artists who turned their attention to the South: Mark Twain, Jean Toomer, Zora Neale Hurston, William Faulkner, Richard Wright, Katherine Anne Porter, Bobbie Ann Mason, and Walker Percy. In producing an intensely embodied U.S. literature these writers, Watson argues, were by turns extending and interrogating a centuries-old tradition in U.S. print culture, in which the recalcitrant materiality of the body serves as a trope for the regional alterity of the South. Reading for the Body makes a powerful case for the body as an important methodological resource for a new southern studies.